[172] Christóval Lozano, “Soledades de la Vida,” 6a impresion, Barcelona, 1722, 4to. After the four connected stories told by the hermit, there follow, in this edition, six others, which, though separate, are in the same tone and style. Lozano wrote the “Reyes Nuevos de Toledo,” noticed, ante, [p. 91]; the “David Perseguido,” and other similar works;—at least, I believe they are all by one person, though the Index Expurgatorius of 1790 makes the “Soledades” the work of Gaspar Lozano, as if he were not the same.
[173] Of Alonso del Castillo Solorzano I have spoken, ante, [p. 72], as the author of picaresque tales. A list of most of his works may be found in Antonio, (Bib. Nov., Tom. I. p. 15,) among which is a sort of suite with the following titles: “Jornadas Alegres,” 1626;—“Tardes Entretenidas,” 1625;—and “Noches de Placer,” 1631. None of these had much success; nor, indeed, did he succeed much in any of his tales, except “La Garduña de Sevilla,” already noticed. But his “Quinta de Laura” was printed three times, and his “Alivios de Cassandra,” which first appeared in 1640,—and is something like the “Para Todos” of Montalvan, being a collection of dramas, poetry, etc., besides six stories,—was translated into French, and printed at Paris, both in 1683 and 1685.
[174] Alonso de Alcalá y Herrera, “Varios Efetos de Amor,” Lisboa, 1641, 18mo. He was a Portuguese, but was of Spanish origin, and wrote Spanish with purity, as well as Portuguese. (Barbosa, Bib. Lus., fol., Tom. I. p. 26.) Clemencin cites these stories of Alcalá as proof of the richness of the Spanish language. (Ed. Don Quixote, Tom. IV. p. 286.) There is a tale, printed by Guevara, called “Los Tres Hermanos,” in the volume with his “Diablo Cojuelo,” (Madrid, 1733, 12mo,) in which the letter A is omitted; and in 1654 Fernando Jacinto de Zarate published a dull love-story, called “Méritos disponen Premios, Discurso Lírico,” omitting the same vowel;—but the five tales of Alcalá are better done than either.
[175] Jacinto de Villalpando, “Escarmientos de Jacinto,” Zaragoza, 1645. He was Marquis of Osera, and published other works in the course of the next ten years after the appearance of the “Jacinto,” one of which, at least, appeared under the name of “Fabio Clymente.” See, ante, Vol. II. p. 483.
[176] Literally, Luncheons of Wit, etc. “Meriendas del Ingenio y Entretenimientos del Gusto,” Zaragoza, 1663, 8vo. Six tales.
[177] Isidro de Robles collected the “Varios Efetos de Amor” (Madrid, 1666, 4to). They were published again, with the five tales of Alcalá, already noted, in 1709, 1719, and 1760;—the number of tales being thus eleven, with three “Sucesos” at the end, published under the title of “Varios Prodigios de Amor.”
[178] Antonio (Bib. Nov., Tom. II. p. 68) and Montalvan (in the catalogue at the end of his “Para Todos,” 1661, p. 545) make him one of the principal and most fashionable dramatic authors of his time. (See, ante, Vol. II. p. 293.) The “Diablo Cojuelo” has been very often reprinted in Spanish since 1641. Le Sage published his “Diable Boiteux” in 1707, chiefly from Guevara; and nineteen years afterwards enlarged it by the addition of more Spanish stories from Santos and others, and more Parisian scandal. In the mean time, it had been carried upon the stage, where, as well as in its original form, it had a prodigious success.
[179] “Universidad de Amor y Escuela del Interes, Verdades Soñadas ó Sueño Verdadero.” The first part appeared under the name of Antolinez de Piedra Buena, and the second under that of El Bachiller Gaston Daliso de Orozco; but both were printed subsequently in the works of Jacinto Polo, and both appear together in a separate edition, 1664, filling sixty-three leaves, 18mo, and including some of Polo’s poetry.
[180] Marcos Garcia, “La Flema de Pedro Hernandez, Discurso Moral y Político,” Madrid, 1657, 12mo. The author was a surgeon of Madrid, and wrote “Honor de la Medecina”; and another “Papelillo,” without his name, which he mentions in his Prólogo. (Antonio, Bib. Nov., Tom. II. p. 83.) He shows, at the beginning of his “Flema,” that he means to imitate Quevedo; but he has a good deal of cultismo in his style. For the meaning of “Flema,” see Covarrubias, ad verb.—One more trifle may here be mentioned; the “Desengaño del Hombre en el Tribunal de la Fortuna y Casa de Descontentos, ideado por Don Juan Martinez de Cuellar,” 1663. It is a vision, in which the author goes to the house of “Desengaño,”—that peculiarly Castilian word, which may here be translated Truth. He is led afterwards to the palace and tribunal of Fortune, where he is disabused of his errors concerning all earthly good. The fiction is of little worth, and the style is that of the school of Góngora.
[181] Baena, Hijos de Madrid, Tom. II. p. 216. There is a coarse edition of the works of Santos, in 4 tom. 4to, Madrid, 1723.